In a Stoppard Frame of Mind

I'm way behind on my Tom Stoppard blogging chores. Apologies.

The Duke of York Theatre's revival of "Arcadia," running through September 12, has been well received. It was reviewed in the Telegraph, in the Oxford Times, in the New York Times, in the Times Online and on Reuters.

Stoppard's son Ed talks about appearing in the London revival.

"Arcadia" was also recently produced at the Folger Theatre.

Meanwhile, the Independent asks whether "Arcadia" is the greatest play of our age.

Sam Mendes' Bridge Project, having returned to England, paired Stoppard's adaptation of "The Cherry Orchard" with Shakespeare's "The Winter's Tale."

Finally, program the "Rock 'n' Roll" playlist onto your iPod.

Stoppard Catch-up

By most accounts, it looks as if Sam Mendes' production of Stoppard's adaptation of "The Cherry Orchard" was a success. (It ends tomorrow, by the way.) Here's a review from New York Magazine to refresh your memory.

Newsweek ran an interview with the playwright, but it was James Mustich at the Barnes & Noble Review who scored the most illuminating conversation with Stoppard this season.

Of course, there are plenty of other plays in the Stoppard repertoire. "Travesties" is set to open at the Sydney Opera House on March 9. For those unfamiliar with the play's literary and historical background, Jonathan Biggins provides a decent summary in the Sydney Morning Herald.

"Rock 'n' Roll" continues to roll out at various venues around the Globe. Productions are planned in Chicago and the Twin Cities. Right now it's playing in Manchester, UK.

Meanwhile, "The Real Thing" is playing at the Salisbury Playhouse in Salisbury, UK.

Bob Crowley, the five-time Tony Award winner, will receive the 2009 Robert L. B. Tobin Award For Lifetime Achievement In Theatrical Design at the TDF/Irene Sharaff awards on March 27 in New York City. Crowley designed the Lincoln Center production of "The Coast of Utopia."

Finally, Stoppard's son Barny has opened a healthy fast-food restaurant.

Photo credit: Jonathan Biggins as Henry Carr in the STC's Travesties.
Photo: Sandy Nicholson

"Every Good Boy..." Revival

Tom Stoppard and Andre Previn's 1977 orchestral drama, "Every Good Boy Deserves Favour," is being revived in the National Theatre's Olivier Auditorium, starring Toby Jones and Joseph Millson. Set in Soviet Russia, "EGBDF" "contrasts the circumstances of a political prisoner and a mental patient in a Soviet insane asylum, to question the difference, if any, between free will and the freedom to conform."

The Mail Online admires the score but says "the politics have moved on." The Oxford Times finds the piece less dated: "The violence at the core of the debased political system under scrutiny is graphically revealed in a shocking display of balletic beatings-up among and around the orchestra, during which the players continue to bow and blow with vigour."

Variety says of the 65-minute piece: "the production reveals the piece as more theatrical than dramatic, more a premise than a play." The Financial Times admires the production's ambition, but deems it "a play for yesterday." The Independent is even less enthusiastic.

Nevertheless, Bloomsberg.com finds the play still chillingly relevant. And musicOMH praises it, deeming it "a timely revival of a politically acute and quirkily engaging work."

As it requires the presence of a full orchestra onstage, "EGBDF" is rarely performed, so my advice to any Stoppard fans visiting the West End is that they not pass up the chance to see this production if given the opportunity.

UPDATE: The Sunday Times weighs in, and Liz Hoggard on the Evening Standard sings the praises of short plays that inspire long friendships.

Stoppard's "Cherry Orchard"

Sam Mendes of "American Beauty" and "Revolutionary Road" is directing the Bridge Project production of Stoppard's new version of Anton Chekhov's "The Cherry Orchard." It boasts a stellar Anglo-American cast, including Sinead Cusack, Simon Russell Beale, Rebecca Hall and Ethan Hawke. So far, the critical consensus has been favorable.

Ben Brantley of the New York Times calls it a "nimble new version...that invites fresh comic shadings, pushes that sense of the incongruous not so much into farce (although there’s some of that) as into 'Alice in Wonderland' absurdity."

Terry Teachout has a review in the Wall Street Journal.

The review in Variety says: "The chief strengths of Stoppard's adaptation are its conversational ease and erudite humor, but there's a slight chill to the playwright's gaze that undercuts the melancholy strains of a great Chekhov production."

The New York Daily News also likes the production.

Back to Stoppard Blogging

Been a while since I've added any Stoppard links. Here are a few from England and around the U.S.

Stoppard and Andre Previn are gearing up for a revival of "Every Good Boy Deserves Favour" at the National.

Stoppard recently visited Yale to speak to a class by Paula Vogel. He was in town to see a revival of "Rough Crossing" at the Yale Repertory Theatre, reviewed here, here, here and here.

Really sad to hear that Shakespeare Santa Cruz has been pushed to the financial brink. Glad to know that Stoppard is lending his support.

Two recent productions of "Rosencrantz & Guildenstern": one in Surrey, UK, the other in Melbourne, Australia.

John Cullum and Tony Roberts are slated to star in the New York premiere of "Heroes." (Not the superhero television series.)

And Stoppard is still opposed to the publication of Nabokov's final novel, "The Original of Laura."

Stoppard Does Chekhov, Plus More "Rock 'n' Roll"

In London, Kenneth Branagh stars in the Donmar West End production of Anton Chekhov's "Ivanov," newly adapted by Stoppard. The production has been well received, for Branagh's performance and Stoppard's adaptation. Critics are reportedly unanimous in their praise.

The reviews for the San Francisco production of "Rock 'n' Roll" keep streaming in:
San Francisco Bay Times
Sacramento Bee
The Bay Guardian
The Daily Californian

Meanwhile, in a Times Online video interview, Stoppard claims that his approach to theater is "very, very lowbrow." You betcha.

Stephenson Is to Stoppard As...

It took me close to two months, but I finally dragged myself through Neal Stephenson's 900-page philosophical science fiction epic, "Anathem." Oy. I'm a big fan of the author of "Cryptonomicon" and "The Baroque Cycle," but this tale of cloistered scholars making their way into the outside to deal with extraterrestrial visitors was a struggle all the way through. I nearly gave up a couple times, but I persevered, mainly because I knew that The Chronicle should cover the book and that no one else was going to step forward to do so.

It got a little easier once I found a hook for the review. After seeing "Rock 'n' Roll" last week, it struck me that Stephenson is to science fiction as Tom Stoppard is to contemporary drama. Sound far-fetched? Well, read my review from today's Chronicle and see if you agree.

"Rock 'n' Roll" Opens at ACT

On Wednesday, Stoppard's "Rock 'n' Roll" opened at San Francisco's American Conservatory Theater, the play's first post-Broadway outing. I saw it on Wednesday, taking last-minute advantage of ACT's "Pay What You Wish" program.

It's a solid production of a play that doesn't rank among my favorites. The sets, lighting and sound design are especially impressive. I found the male lead, Manoel Felciano as Jan, to be problematic. Perhaps he was merely tired after Opening Night, but his energy level seemed off and he didn't connect with his counterparts as he should have. Jack Willis was more in the groove as Max, the aging Marxist professor, and his scenes with Rene Augesen as his dying wife/regretful daughter were beautifully handled.

In the Friday San Francisco Chronicle, Robert Hurwitt gave the production an enthusiastic review. On his blog, Chronicle movie critic Mick LaSalle takes special note of Augesen's performance.

Pat Craig at the Contra Costa Times had good things to say about this "Rock 'n' Roll," as did Lee Hartgrave at BeyondChron. Chad Jones at The Examiner was equally positive in his appraisal.

If you have tickets, be sure to take a moment to read the timeline printed in the program. The historical context is greatly helpful.

Miscellaneous Stoppard Productions, Appearances and Interviews

I've been remiss in keeping tracking track of various Stoppard productions since "Rock 'n' Roll" closed on Broadway. Here are links to a handful around the country and globe:

In Boston, The Publick Theatre is presenting "Travesties." The Boston Globe has a review. And so does the Boston Herald.

"Hapgood" is being revived in Britain, but it's still seen as a transitional piece.

"Rock 'n' Roll" has opened in Sydney.

The Queensland Theatre Company performed "Heroes," but you probably missed it.

Stoppard granted a rare interview to the Oxford student newspaper, on the occasion of receiving the Sunday Times Award for Literary Excellence.

Stoppard will take part in the HighTide theater and film festival in Halesworth, May 1-5.

At Harvard, "Angels in America" author Tony Kushner criticized "The Coast of Utopia" but praised "The Wire."

ACT Nabs "Rock 'n' Roll" for Fall '08

No surprise, really. Back in January, Carey Perloff strongly hinted she would soon produce Stoppard's latest play at San Francisco's American Conservatory Theatre. Today it was announced that it will be the season opener for '08-'09. Excellent!

One of the great advantages of living in the San Francisco Bay Area is the opportunity to see some really first-rate theater. I'm especially excited by Berkeley Rep's next season, which will feature Martin McDonagh's "The Lieutenant of Inishmore," August Wilson's "Joe Turner's Come and Gone" and "Yellowjackets," a world premiere by Itamar Moses about Berkeley High School in the Nineties.

The redoubtable Shotgun Players also have an interesting season ahead of them. I'm looking forward to their version of "Beowulf.

I'm unsure whether a trip to Ashland, Oregon, is in the cards this year. Nothing in the 2008 season besides "Fences" really grabs my attention. (And they're staging "The Music Man in '09? What's up with that? I don't need to travel six hours and pay $60 a ticket to hear "'Til There Was You.")

Now I just have to find the spare cash to see all these plays...

Stoppard Roundelay

The Baltimore Sun's critic thought the unconventional casting of the Centerstage's production of "Rosencrantz & Guildenstern..." gave the "old play new relevance." Broadwayworld.com begged to differ, saying that the production "has set the new standard for bad theatre." Ouch.

Stoppard weighs in on the debate about whether Dmitri Nabokov should, per his father's wishes, destroy the final manuscript by the author of "Pale Fire" and "Lolita." Stoppard comes down on the side of "Burn it!"

John Madden, director of "Shakespeare in Love," writes about working with Stoppard on that breakthrough film. Then Stoppard himself gets a chance to discuss the production. (And, holy crap, has it really been 10 years since its release?)

In an interview on the Guardian Unlimited, Stoppard discusses his support of the Belarus Free Theatre.

And everybody covets Stoppard's book-bag.

Saturday Stoppard

Last Saturday, I attended a "conversation" with Tom Stoppard at San Francisco's American Conservatory Theater. Sponsored by the Koret Foundation, the event was hosted ACT artistic director Carey Perloff.

Beginning at 10 on a storm-swept morning, the program attracted a sell-out -- and peculiarly geriatric -- crowd, but their enthusiasm for the author was evident. Settled in armchairs on the otherwise empty stage, Stoppard and Perloff discussed the recent success of "The Coast of Utopia" and "Rock 'n' Roll" for just under an hour. Some highlights for notes scribbled on the program:

Stoppard talked about his first trip back to Zlin, in what used to be Czechoslovakia. There he met the daughter of one of his father's medical colleagues, and the now-elderly woman told him how Dr. Straussler had stitched up her hand after she smashed it through a window in a childhood accident. Stoppard said that he was moved by the tangible evidence of his late father's handiwork.

Perloff recounted an anecdote about a student at ACT asking Stoppard to name the most important quality that an actor should bring to his scripts. Stoppard's answer: "Clarity of utterance."

Now devising a new translation of a Chekhov play, Stoppard said he works best at night, although he sometimes wakes to find that what he has produced reads "as if the Polish au pair girl had rearranged it." Also in regard to the Chekhov project, he reported that he's found a way not to worry about the presumed artificiality of characters speaking to themselves while alone on stage. "Breaking the fourth wall doesn't break the play."

Perloff kept the conversation rolling, but there's something a little off-putting about her manner, which borders on the fawning. I reap the benefits of her friendship with Stoppard, in that it enables events like this Koret program and the U.S. premieres of "Indian Ink" and "The Invention of Love." But it's a little icky to watch her gaze at him and proclaim him to be "the greatest living writer in the English language." It may be true, but c'mon.

She also apparently burnishes his bon mots a bit. After relating a story with the supposed punchline of "The problem with America is that you don't seem to have an Irony button on your keyboard," Stoppard gently corrected her, saying that he only wished for a typeface that could identify the ironic lines in his playscripts.

The biggest news of the day came at the beginning, when Perloff let slip that she is angling to bring "Rock 'n' Roll" to the Bay Area. Let's hope she's able to complete that negotiation successfully.

Winter Solstice Stoppard Roundup

Great googly moogly! Where has the month of December gone? On to the collected Stoppard links!

With the stagehands' strike over, "Rock 'n' Roll" is still "humming along" on Broadway, hitting its highest box office gross to date. Early in the month, the PBS NewsHour presented a lengthy feature on the production.

Nicole Ansari, actress and wife of Brian Cox, discusses what it's like to perform "Rock 'n' Roll" with one's spouse.

As the Prague Herald reports, the Plastic People of the Universe are making hay while the sun shines.

The Moscow Times includes the Russian version of "The Coast of Utopia" among the best theater productions of 2007. The Times also recently examined the life of Herzen, one of the play's principle characters.

Given the lukewarm reception of the film adaptation of "The Golden Compass," Stoppard is probably relieved that none of the blame can be laid at his feet.

Finally, Stoppard will provide the first lines for three plays to be written in four hours by Daniel MacIvor, Morwyn Brebner and Claudia Dey.

"Rock 'n' Roll" Takes a Breather

Broadway's largely dark because of the stagehands strike, but folks keep writing about "Rock 'n' Roll."

Irene Backalenick writes about the play for All about JewishTheatre.

At Broadway World, Michael Dale discusses the play, in between notes about the Ziegfeld Follies and "Richard III."

Carolyn Clay covers it for the Boston Phoenix.

Nicholas Wapshott provides an opinion piece for the New York Sun.

"Rock." Papers. Scissors Not Required.

More newspaper articles about "Rock 'n' Roll":

Chris Jones in the Chicago Tribune calls the play "one of this remarkable writer's most profound and personal works."

Louise Kennedy in the Boston Globe deems it "a hymn to the great god Pan."

In the New York Times, John Pareles writes, at length, about the music of the Plastic People of the Universe.

Gimme That "Rock 'n' Roll" Music

In The Nation, Eric Alterman starts out talking about "Rock 'n' Roll" and somehow winds up castigating Maureen Dowd for her alleged dishonesty, with a side trip to the legacy of the Enola Gay. He does deem the play "brilliant," however.

Toby Zinman at the Philadelphia Inquirer calls "Rock 'n' Roll" "intriguing."

The Daily Mail claims that the New York production is interfering with Stoppard's work on a new adaptation of Chekhov's "Ivanov."

Jeremy McCarter at New York Magazine doesn't think much of Mel Brooks' musical "Young Frankenstein" but finds "Rock 'n' Roll" "triumphant."

Kurt Loder at MTV.com explores the play's connection to Pink Floyd's Syd Barrett.

"Rock 'n' Roll" Reviews Rolling In

The word is spreading about the New York production of "Rock 'n' Roll." Terry Teachout writes about it for the Wall Street Journal and says that "2007 will be remembered as the year Tom Stoopard fooled everyone" (in a good way, presumably).

Linda Winer at Newsday calls "Rock 'n' Roll" a "direct and worthy descendent of 'The Coast of Utopia.'"

The Complete Review maintains an extremely informative page about the play, with plenty of links to reviews of the London production.

It's Only "Rock 'n' Roll" But They Like It

"Rock 'n' Roll" opened on Broadway last night, and the New York Times has almost exclusively positive things to say about the production. Peter Marks of the Washington Post deemed it "remarkable," and Clive Barnes in the New York Post gives it four stars.

Earlier in the day, NPR ran an engaging preview piece.

"Rock 'n' Roll" Opens Sunday

In previews since Oct. 19, the New York production of "Rock 'n' Roll" is set to open officially on Nov. 4. In anticipation of that event, Stoppard has been making the interview rounds.

He submitted to a Q&A with Time Magazine as part of a fuller portrait of him and the production. Time Out New York sat down with him for a short interview. Robert Feldberg of the North Jersey Media group conducted a telephone interview with him.

Meanwhile, the New York Daily News spoke with lead actor Rufus Sewall. Co-star Brian Cox groused about the state of the American Theatre to New York Magazine.

Ready to "Rock 'n' Roll"

Tickets are now on sale of the New York production of Stoppard's "Rock 'n' Roll." Get 'em while you can.

In advance of opening night are a number of special events. You probably missed them, but the Plastic People of the Universe, the Czech rock band featured in "Rock 'n' Roll," performed at Joe's Pub at the Public Theater on Sept. 27.

The current issue of Vanity Fair has a lengthy piece by Stoppard on Syd Barrett as an inspiration for the play. alicublog comments on the article and also provides a review of the London production.

On October 26, Stoppard will discuss the topic "Can Art Change the World?" as part of the TimeTalks program.

Off-topic, Caryn James of the New York Times reviewed "Stoppard Goes Electric," that evening of TV plays, and was not particularly impressed.